Francis Marques & Mathias Klenner
Her work focuses on researching collective composition strategies towards the recomposition of the perception over the female body and mechanisms of representation that expand the broader concept of Emotional Ecology.
She has a hybrid practice that involves the production of events linked to the transmissions of architectural knowledge, book editorial, stage design for music festivals, drawing, writing, and art direction.
Francis has presented her work at Milhões de Festa, CTM Festival, Lisboa Soa, Berlin Noise Festival, CIAJ Museum, performed in institutions such as Volksbühne Berlin, Forum Art Braga and Teatro Rivoli. She was granted public funding from Porto City Hall to develop Hysteria, a project dedicated to the promotion of direct contact between women experimental musicians and emergent artists and now active and an independent event producing platform operation in the DIY scene in Porto, now a hybrid platform dedicated to different projects. She was the Art Coordinator at ArtWorks (pt) and at No Entulho Art Residencies, a program dedicated to the use of industrial rubble as material for artistic creation. She works as an independent creative producer in the filed of performance and contemporary art, and developed cultural projects within the fields of sustainability.
She has a hybrid practice that involves the production of events linked to the transmissions of architectural knowledge, book editorial, stage design for music festivals, drawing, writing, and art direction.
Francis has presented her work at Milhões de Festa, CTM Festival, Lisboa Soa, Berlin Noise Festival, CIAJ Museum, performed in institutions such as Volksbühne Berlin, Forum Art Braga and Teatro Rivoli. She was granted public funding from Porto City Hall to develop Hysteria, a project dedicated to the promotion of direct contact between women experimental musicians and emergent artists and now active and an independent event producing platform operation in the DIY scene in Porto, now a hybrid platform dedicated to different projects. She was the Art Coordinator at ArtWorks (pt) and at No Entulho Art Residencies, a program dedicated to the use of industrial rubble as material for artistic creation. She works as an independent creative producer in the filed of performance and contemporary art, and developed cultural projects within the fields of sustainability.
INTRODUCTION
Humming with the microphones in the head
Background soundscapes
Recorded speech of introduction
WASHING THE HAIR
Sounds of water filtered
Background soundscape of water
Trigger water into marimba
CUTTING THE HAIR (1)
Slow sounds of cutting - no filter
Background sound, granular sample of cutting
Cutting evolves, the space enters as a reverb
Trigger cutting into synth + reverb
Speech enters the scene
CUTTING THE HAIR (2)
Fast cutting and intense filter of reverb, delay, granulator, spectral
Trigger cutting into synth
AURAL CUT SCORE
for scissors, contact mics, amplifiers, audio interface and hair
for scissors, contact mics, amplifiers, audio interface and hair
AURAL CUT SCRIPT // Performed at La Infinita, Barcelona, June 2024
Francis Marques is a mixed media artist and cultural producer operating in the fields of performance, visual and sound art.
Given a chosen head with hair preferably
Begin cutting the hair
Scissors must have a contact mic attached
This is connected to a computer audio system
You may filter, use or alter this incoming audio signal
Or just leave as it is
The focus is on the person receiving the cut
Them are in a ritual of transmutation
Where hair is a sonic and vibrational medium
For emotional healing
Hair will be let go, as thoughts and ideas will be let go
Integrated back to earth
The person giving the cut
Will experiment with different movements and velocities of cutting the hair
Short and repetitive cuts in a constant rhythm
Long and slow cuts with the tip of the scissors
Strong and distanced cut with the base of the blades
Or simply the touch of the scissors through the hairs
There might be water
To wash the hair with hydrophones
This can be done before or after the cutting
As a medium of renovation and cleansing of the body
The person giving and the person receiving
Are part of a genetic ritual
Begin cutting the hair
Scissors must have a contact mic attached
This is connected to a computer audio system
You may filter, use or alter this incoming audio signal
Or just leave as it is
The focus is on the person receiving the cut
Them are in a ritual of transmutation
Where hair is a sonic and vibrational medium
For emotional healing
Hair will be let go, as thoughts and ideas will be let go
Integrated back to earth
The person giving the cut
Will experiment with different movements and velocities of cutting the hair
Short and repetitive cuts in a constant rhythm
Long and slow cuts with the tip of the scissors
Strong and distanced cut with the base of the blades
Or simply the touch of the scissors through the hairs
There might be water
To wash the hair with hydrophones
This can be done before or after the cutting
As a medium of renovation and cleansing of the body
The person giving and the person receiving
Are part of a genetic ritual
His work focuses on aural architecture and critical urbanism, researching about the conflicts in the community and territory, in its link with the current context of neoliberal progress. Klenner has produced installations, sound pieces, performances, researches, lectures, newspapers, urban interventions, drawings, TV shows, archives, web pages, occupations, fanzines and other mechanisms of symbolic and material dispute.
He has lectured in the School of Architecture from UDLA, UFT, UACH, UCH, UTEM and UNIACC in Chile. Klenner has exhibited his work in PS1/MoMA YAP in New York, the Chicago Architecture Biennial, Occupied Exhibition in RMIT, IdeasCity Athens, Cruces Sonoros Festival in Santiago, the Chilean Architecture Biennial in Valparaiso, the Science and City Biennial in Barcelona, Santiago: Ciudad Destino exhibition in GAM, Tsonami Festival, Yale University Graduate Music School, Ambiances Congress, Hangar Barcelona, Eufonia Festival in Berlin, Barcelona Pensa Festival, l’Estruch Cultural Center, Etopía Cultural Center, Media Art Biennial of Santiago, Resonant Spaces Festival, among other places.
He has won the Graham Foundation Grant for Architecture 2017, the Chilean Fondart Grant 2018, the Catalonian Research and Innovation Grant 2019 and the Becas Chile Grant for PhD studies 2020.
He has lectured in the School of Architecture from UDLA, UFT, UACH, UCH, UTEM and UNIACC in Chile. Klenner has exhibited his work in PS1/MoMA YAP in New York, the Chicago Architecture Biennial, Occupied Exhibition in RMIT, IdeasCity Athens, Cruces Sonoros Festival in Santiago, the Chilean Architecture Biennial in Valparaiso, the Science and City Biennial in Barcelona, Santiago: Ciudad Destino exhibition in GAM, Tsonami Festival, Yale University Graduate Music School, Ambiances Congress, Hangar Barcelona, Eufonia Festival in Berlin, Barcelona Pensa Festival, l’Estruch Cultural Center, Etopía Cultural Center, Media Art Biennial of Santiago, Resonant Spaces Festival, among other places.
He has won the Graham Foundation Grant for Architecture 2017, the Chilean Fondart Grant 2018, the Catalonian Research and Innovation Grant 2019 and the Becas Chile Grant for PhD studies 2020.
Mathias Klenner a Chilean Architect and Sound Artist based in Barcelona. Co-founder of the Resonant Spaces project, the architecture collective TOMA and sound collective Patrimoni Acoustic.
